Can the Oscars Redefine Patriotism?
by Luiza Irulegui
Last year’s Oscars ceremony showed us what patriotism actually looks like and what it should look like in our day-to-day.
In recent years, the term has increasingly taken on a negative connotation, with “patriot” and “nationalist” often being seen as an implication of one’s extreme personal or political views.
As a result, when hearing terms such as “national pride” or “patriotism”, people often picture the ideas and associations these words carry.
The idea of patriotism, according to the Cambridge Dictionary, should reflect one’s manifestation of love and pride for their nation. But in reality, it’s often utilised to segregate and other those who disagree with those people’s “ideals” and patriot utopianism.
The 97th Academy Awards ceremony gave us a (much-needed) reminder of what national pride could look like.
In the shadow of bad press, the term took on a brighter meaning in light of nominations, and later wins, of the Latvian animated movie Flow and Brazilian movie I’m Still Here.
Flow made an impact on the animation film industry due to its highly innovative take, relying heavily on visuals rather than dialogue. The movie was a historic success for Latvia, bringing back the first-ever Academy Award and Golden Globe wins for the country.
Not only boosting national morale, these accolades took an important role in placing Latvia on the international map for creative and cultural achievements.
Since its release, the national impact of Flow has grown so big that the municipality of the capital, Rīga, cooperated with the film’s director, Gints Zilbalodis, and sculptor, Kristaps Andersons, to transform the star cat into a temporary 3D sculpture.
This decision, as well as displaying the Oscar award at the Latvian National Museum, came to ensure that every resident and visitor of Rīga could experience a taste of national pride.
On a wider scale, the film’s success has triggered an increase in the government’s support and funding for Latvia’s animation industry. The Ministry of Finance and Culture pledged to redistribute funds in order to secure sustainable growth for the animation sector. Flow has highlighted the potential of independent animation globally, enhancing Latvia’s cultural reputation and illustrating that smaller countries can successfully compete with Hollywood giants.
The same can be said about the award-winning Brazilian movie I’m Still Here, which also brought astonishing national pride in its citizens.
As a Brazilian myself, seeing my country recognised in such a prestigious way rekindled a deep sense of nationalism within me as well as the whole nation.
I’m Still Here recounts the nation’s turbulent history during the dictatorship era (1964–1985) through the true story of a family torn apart by the regime. The recognition of the film at the Academy Awards sparked both national pride and long-overdue reflection, breaking through the silence left by the Amnesty Law and the absence of memorials to confront the memory of state persecution.
By centring the story’s plot line on the horrors that happened to the Paiva family, it transformed the abstract horrors of the military regime into something deeply human and relatable. It allowed Brazilian citizens the chance to see their own struggles and history reflected on screen, and to see that their country’s history hasn’t been forgotten, and justice is still being sought for the families of those killed during the dictatorship.
Although Brazilian co-productions and filmmakers had earned Oscar nominations in the past, this was the first time a homegrown production took home a win in a major competitive category. I’m Still Here earned multiple Oscar nominations, including Best Picture, an unprecedented milestone for Brazilian cinema. The news ignited celebrations across the country, with people waving flags and donning costumes to show pride for both the film as well as the nation.
Like Flow, Brazil’s historic Oscar win has ensured that the statuette is now on public display at a cinema museum in the upscale Urca neighbourhood of Rio de Janeiro. The Brazilian government has also bought the house where the movie was shot to repurpose it into a public museum to celebrate Brazilian cinema.
Both films highlight the power of meaningful cinema, broadening audiences’ interests beyond typical Hollywood fare and demonstrating that international movies are not only worth watching but also deserving of recognition, as they represent the voices and culture of entire nations.